What is the benefit of prewriting

The Classic Fairy Tales focuses on six different tale types: "Little Red Riding Hood," "Beauty and the Beast," "Snow White," "Cinderella," "Bluebeard," and "Hansel and Gretel." It includes multicultural variants of these tales, along with sophisticated literary rescriptings. Each tale type is preceded by an introduc­ tion, and annotations are provided throughout. Also included in this collection of over forty stories are tales by Hans Christian Andersen and Oscar Wilde.

"Criticism" collects twelve essays that interrogate different aspects of fairy tales by exploring their social origins, historical evolution, psychological dynamics, and engagement with issues of gender and national identity. Bruno Bettelheim, Robert Darnton, Sandra M. Gilbert and Susan Gubar, Karen E. Rowe, Marina Warner, Zohar Shavit, Jack Zipes, Donald Haase, Maria Tatar, Antti Aarne, and Vladimir Propp provide critical overviews.

A Selected Bibliography is included.

ABOUT THE SERIES : Each Norton Critical Edition includes an authoritative text, contextual and source materials, and a wide range of interpretations— from contemporary perspectives to the most current critical theory—as well as a bibliography and, in most cases, a chronology of the author's life and work.

COVER PAINTING: The Enchanted Prince, by Maxfield Parrish. Reproduced by per­ mission of © Maxfield Parrish Family Trust/Licensed by ASAP and VAGA, NYC/Cour tesy American Illustrated Gallery, N Y C

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The Editor

MARIA TATAR is the author of The Hard Facts of the Grimms' Fairy Tales, Off with Their Heads! Fairy Tales and the Culture of Childhood, and Lustmord: Sexual Vi­ olence in Weimar Germany. She holds the John L. Loeb chair for Germanic Languages and Literatures at Har­ vard University, where she teaches courses on German cultural studies, folklore, and children's literature.

W . W . N O R T O N & C O M P A N Y , I N C .

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A N O R T O N C R I T I C A L E D I T I O N

THE

CLASSIC FAIRY TALES ^âéz

TEXTS

CRITICISM

Edited by

MARIA TATAR HARVARD UNIVERSITY

W • W • NORTON & COMPANY • New York • London

For Lauren and Daniel

Copyright © 1999 by W. W. Norton & Company, Inc.

All rights reserved. Printed in the United States of America.

First Edition.

The text of this book is composed in Electra with the display set in Bernhard Modem. Composition by PennSet, Inc. Book design by Antonina Krass.

Cover illustration: The Enchanted Prince, reproduced by permission of © Maxfield Parrish Family Trust/Licensed by ASAP and VAGA, NYC /Courtesy American

Illustrated Gallery, NYC.

Library of Congress Cataloging-in-Publication Data

The classic fairy tales : texts, criticism / edited by Maria Tatar, p. cm. — (Norton critical edition)

Includes bibliographical references.

ISBN 0-393-97277-1 (pbk.)

1. Fairy tales — History and criticism. I. Tatar, Maria M., 1945- GR550.C57 1998 3 8 5 . 2 - d c 2 1 98-13552

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Contents

Introduction ix

The Texts of The Classic Fairy Tales 1

INTRODUCTION: Little Red Riding Hood 3 The Story of Grandmother 10 Charles Perrault • Little Red Riding Hood 11 Brothers Grimm • Little Red Cap 13 James Thurber • The Little Girl and the Wolf 16 Italo Calvino • The False Grandmother 17 Chiang Mi • Goldflower and the Bear 19 Roald Dahl • Little Red Riding Hood and the Wolf 21 Roald Dahl • The Three Little Pigs 22

INTRODUCTION: Beauty and the Beast 25 Jeanne-Marie Leprince de Beaumont • Beauty and the

Beast 32 Giovanni Francesco Straparola • The Pig King 42 Brothers Grimm • The Frog King, or Iron Heinrich 47 Angela Carter • The Tiger's Bride 50 Urashima the Fisherman 66 Alexander Afanasev • The Frog Princess 68 The Swan Maiden 72

INTRODUCTION: Snow White 74 Giambattista Basile • The Young Slave 80 Brothers Grimm • Snow White 83 Lasair Gheug, the King of Ireland's Daughter 90 Anne Sexton • Snow White and the Seven Dwarfs 96

INTRODUCTION: Cinderella 101 Yeh-hsien 107 Charles Perrault • Donkeyskin 109 Brothers Grimm • Cinderella 117 Joseph Jacobs • Catskin 122 The Story of the Black Cow 125

vi CONTENTS

Lin Lan • Cinderella 127 The Princess in the Suit of Leather 131

INTRODUCTION: Bluebeard 138 Charles Perrault • Bluebeard 144 Brothers Grimm • Fitcher's Bird 148 Brothers Grimm • The Robber Bridegroom 151 Joseph Jacobs • Mr. Fox 154 Margaret Atwood • Bluebeard's Egg 156

INTRODUCTION: Hansel and Gretel 179 Brothers Grimm • Hansel and Gretel 184 Brothers Grimm • The Juniper Tree 190 Joseph Jacobs • The Rose-Tree 197 Charles Perrault • Little Thumbling 199 Pippety Pew 206 Joseph Jacobs • Molly Whuppie 209

INTRODUCTION: Hans Christian Andersen 212 The Little Mermaid 216 The Little Match Girl 233 The Girl Who Trod on the Loaf 235 The Red Shoes 241

INTRODUCTION: Oscar Wilde 246 The Selfish Giant 250 The Happy Prince 253 The Nightingale and the Rose 261

Criticism 267

Bruno Bettelheim • [The Struggle for Meaning] 269 Bruno Bettelheim • "Hansel and Gretel" 273 Robert Darnton • Peasants Tell Tales: The Meaning of Mother Goose 280 Sandra M. Gilbert and Susan Gubar • [Snow White and Her Wicked Stepmother] 291 Karen E. Rowe • To Spin a Yarn: The Female Voice in Folklore and Fairy Tale 297 Marina Warner • The Old Wives' Tale 309 Zohar Shavit • The Concept of Childhood and Children's Folktales: Test Case — "Little Red Riding Hood" 317

Jack Zipes • Breaking the Disney Spell 332

CONTENTS

Donald Haase • Yours, Mine, or Ours? Perrault, the Brothers Grimm, and the Ownership of Fairy Tales 353

Maria Tatar • Sex and Violence: The Hard Core of Fairy Tales 364 Antti Aarne and Stith Thompson • From The Types of the Folktale: A Classification and Bibliography 373

Vladimir Propp • Folklore and Literature 378 • From Morphology of the Folktale 382

The Method and Material 382 • Thirty-One Functions 386 • Propp's Dramatis Personae 387

Selected Bibliography 389

Introduction

Fairy tales, Angela Carter tells us, are not "unique one-offs," and their narrators are neither "original" nor "godlike" nor "inspired." To the con­ trary, these stories circulate in multiple versions, reconfigured by each tell­ ing to form kaleidoscopic variations with distinctly differen